Who or what were the most important influences on your musical life and career?
The late Jacob Lateiner (1928 to 2010) who was my teacher at Juilliard. He was an inspiration in more ways than one: as a pianist, a scholar, a collector, a gourmet, a connoisseur, and one smooth talker who could melt the heart of any woman (or so I imagine). Sometimes I wish everyone I know could have the chance of meeting Lateiner, who exerted such a big influence in my life and encouraged me to go down this rabbit-hole. Even now I still feel his presence; I step where he points.
What have been the greatest challenges of your career so far?
Finding my own voice. Not so much about public speaking, though I do tend to speak during concerts, but in the sense of crafting a repertoire that best expresses my personal expressive character. Appreciation is very different from performing; I may appreciate many different composers but performing them convincingly is a whole other matter.
Which particular works do you think you play best?
I have a deep affinity with the late romantics (the generations after Chopin/Schumann/Brahms) whose particular and eloquent way of writing for the piano transcends all language. They used the piano to express an endless spectrum of feelings, from unabashed romanticism to Parnassian intellectual probity, from Panglossian pessimism to spiritual elation.
How do you make your repertoire choices from season to season?
I take inspirations from every corner of daily life. I tend to string together works that create a coherent idea for a programme, from single-composer to country-themed selections; more often I try to balance public tastes with serious historical or cultural elements. Planning a successful programme is one of the hardest parts of the job, as it requires creativity and immense knowledge. A good programme sells like a basket of fat olives, while a poorly constructed programme feels like a tangled tale.
Do you have a favourite concert venue to perform in and why?
I love a more intimate setting. I love the stage, and I am very comfortable on stage, big or small, but when I am physically close to my listeners I tend to be more emotionally spontaneous.
What is your most memorable concert experience?
The most memorable experiences are always the best concerts and the worst venues. The best performances were those when I was completely “in the zone”. I was performing in France the poetic and impressionistic music of Louis Aubert, the pianist-composer contemporary of Ravel, when not even the most enticing French women audience (of which there were many) could have drugged me out of the “zone”. On the other hand I have had numerous concerts in less-than-desirable settings that I’ll always remember. Once I was performing in China on a piano with a rickety leg, and throughout the entire concert I was picturing different threatening scenarios and news headlines … “Pianist died during concert under a piano, literally”.
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
At the student level, learn as wide a repertoire as possible, from William Byrd to the latest sounds, from the Balkans to Buenos Aires. The next step is to find a unique voice and performing style, and specialize in it. Whenever possible, travel.
What are you working on at the moment?
Identifying the composition of grapes in different vintages of Spanish cava and from different producers. Also trying to work out my latest commission of a double-breasted suit with a Parisian tailor.
Where would you like to be in 10 years’ time?
Alive, but not obsolete.
What is your idea of perfect happiness?
Being interviewed.
What is your most treasured possession?
The lust for life and for beauty.
What do you enjoy doing most?
Meeting a patiently analysed situation with all the resources of thought.
What is your present state of mind?
Aching streaks of melancholy.
Ernest So performs works by Rachmaninoff and Gliere at the 1901 Arts Club on Friday 12th December as part of the South London Concert Series. Further details and tickets here
Critics have hailed Ernest So as a performer who exerts a “phenomenon presence on stage” and who “evokes the romanticism and technical brilliance of a 19th century pianist”. Mr. So’s early manifestation as concert pianist brought prizes such as the Best Performer Award in Singapore and later the Beethoven Trophy. His years at the Juilliard School were spent under the artistic influence and instruction of renowned Beethoven scholar Jacob Lateiner (1928 – 2010); other teachers include Solomon Mikowsky, the late Constance Keene, and Jonathan Feldman.
Ernest So’s full biography can be found on his website:
The Cross-Eyed Pianist 